Safelights/Black out Cloth E-27

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Safelights/Black Out Cloth E-27 Premier CPM\Delta Pro-Size Safelight BriteLab Safelight Lamps Large format floods darkroom 25W jumbo safelights given more light- with safe, workable light. 360O dispersion. Available in Red (ortho film), Easy filter change to Amber- for enlarging paper. accommodate standard 10 x 12 filters for specialized applications. Complete with table mount, hanger brackets ECP255 Universal, red for film (ortho) 35010 and wall mounts. ECP257 OC- Amber for paper 35020 Includes one amber (OC) or red filter, 25 watt bulb, 6 ft. cord with on-off switch. CPM/Delta BriteLab Junior Safelight Screws into light fixture. 11 watt, in red only. EPR911 10 x 12, professional safelight (Red) SL10R Adequate for small darkroom. Premier Economical ECP259 Junior Safelight- universal, red35110 Safelight All metal. Base bracket CPM/Delta BriteLab Fluorescent Safelights for table or mounting. OC- for black and white contact and enlarging paper. For use with Easy change of 5 x 7 filters. standard white fluorescent lamp. Use as a viewer or for retouching with frosted filter. On/off switch in 6ft. cord. Includes 15 watt bulb and filter. EPR915 5 x 7 safelight (OC) SL5 EPR916 5 x 7 safelight (Red) SL5R E ECP262 24" OC Amber Shield35410 Testrite Deluxe Safelight ECP264 48" OC Amber Shield35420 Heavy duty. Includes 5½" OC filter. Graphic Arts Sleeves Available, Write for Information Complete with socket, cord, on/off switch. Order in units of 2 (Standard Pack). Safelights Bracket permits unit to swivel in all directions. Base can be fastened to wall or ceiling or will stand on table. UL listed. CPM/Delta Black OutTM Cloth Uses 15W bulb. Bulb not included. Heavy opaque 6 mil plastic cloth with triple carbon black seals out light. Ideal for windows and doors. Use again and again. Available in ETE901 5½" Safelight w/OC filter 5 1/2F two sizes: 2ft. x 16ft. & 4 ft. x 16 ft. Testrite 5½" OC Filter Only 5½" diameter OC type filter. Individually packed. ETE955 5½" OC Filter Only OC 5 1/2 Testrite Economy Safelights ECP380 Black Out Cloth, 2ft. x 16 ft. 13620 MODEL 3A: Complete with socket, cord and on-off switch. Aluminum ECP382 Black Out Cloth, 4ft. x 16 ft. 13630 bracket permits unit to be swiveled in any direction. Base can be fastened into wall or ceiling or unit will stand by itself on table. Metal body and front filter ring. UL listed. Filter included- suitable for all multi-contrast and normal enlarging papers. Bulb not included. MODEL 3B: Same as above but without stand socket and cord. Has male thread to screw into bulb socket. ETE921 Model 3A economy safelight 3A ETE923 Model 3B economy safelight 3B PERSONAL SERVICE IS OUR #1 PRIORITY East: 111 Asia Place, Carlstadt, NJ 07072 (201) 939-7722 FAX: (201) 939-7782 West: 2710 McCone Ave., Hayward, CA 94545 (510) 293-0575 FAX: (510) 293-0565 12/2003.

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Equipment Evaluation and Design of a Geologically-Oriented Photographic Facility for the Department of Geology and Mineralogy at The Ohio State University SENIOR THESIS-- Presented in fulfillment of requirement for the Bachelor of Science Degree at The Ohio State University Research and compilation by Cecil D. Applegate December 14, 1973 ApproJ. b~:°;l, /. £= •· · · {l !1. ·· Advisor...... ·· ·u· ·· · · · · · · · · · partment of Geology & Mineralogy TABLE OF CONTENTS List of Illustrations ••••••••••••••••••••••••••••••••••••••••••• Acknowledgements. • • • • • • • • . • • • • • • • • . • • • • • . • • • • • • • • • • • • • • • . • • • • • • 2 Abstract•••••••••••••••••••••••••••••••••••••••••••••••••••••••• 3 Introductory Material••••••••••••••••••••••••••••••••••••••••••• 4 Introduction••••••••••••••••••••••••••••••••••••••••••••••• 5 History of Photography••••••••••••••••••••••••••••••••••••• 6 Basic Principles of Photography•••••••••••••••••••••••••••• 8 Geologic Applications of Photography ••••••••••••••••••••••• 11 Design of a Geologically-Oriented Photographic Facility ••••••••• 15 The Dark:room. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 1 6 The Enlarger. • • • • • • • • • • • . • • • . • . • • . • . • • • • • • . • • . • • . • • • . • • . • • 20 The Print Washer••••••••••••••••••••••••••••••••••••••••••• 23 Other Darkroom Accessories••••••••••••••••••••••••••••••••• 25 The Photographic Studio •••••••••••••••••••••••••••••••••••• 28 The Cameras ••••••••••••••••••••••••••••••••••••••••••••••••
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Photographic Films
PHOTOGRAPHIC FILMS A camera has been called a “magic box.” Why? Because the box captures an image that can be made permanent. Photographic films capture the image formed by light reflecting from the surface being photographed. This instruction sheet describes the nature of photographic films, especially those used in the graphic communications industries. THE STRUCTURE OF FILM Protective Coating Emulsion Base Anti-Halation Backing Photographic films are composed of several layers. These layers include the base, the emulsion, the anti-halation backing and the protective coating. THE BASE The base, the thickest of the layers, supports the other layers. Originally, the base was made of glass. However, today the base can be made from any number of materials ranging from paper to aluminum. Photographers primarily use films with either a plastic (polyester) or paper base. Plastic-based films are commonly called “films” while paper-based films are called “photographic papers.” Polyester is a particularly suitable base for film because it is dimensionally stable. Dimensionally stable materials do not appreciably change size when the temperature or moisture- level of the film change. Films are subjected to heated liquids during processing (developing) and to heat during use in graphic processes. Therefore, dimensional stability is very important for graphic communications photographers because their final images must always match the given size. Conversely, paper is not dimen- sionally stable and is only appropriate as a film base when the “photographic print” is the final product (as contrasted to an intermediate step in a multi-step process). THE EMULSION The emulsion is the true “heart” of film.
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Color Printing Techniques
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Black & White Photography PGY 3406C CRN:15845 Pre-Reqs
Photo by Keith Carter Black & White Photography PGY 3406C CRN:15845 Pre-reqs: PGY 2800C, ART 2600C, or permission of the department Florida Atlantic University- Fall 2018 VA 116 Tuesdays + Thursdays from 9-11:50am Professor: Sharon Lee Hart [email protected] Office Hours: Tuesdays/Thursdays 1-2pm and by appointment Course Description: This course concentrates on analog black and white photography and will utilize pinhole and film cameras. Initially the focus is on the acquisition of necessary technical skills in printing, film processing, and darkroom practices. Through projects, readings and critiques, students will continue working on critical issues in photography as well as on composition and content. Analog/digital hybrid practices will be explored. A working 35mm film camera with manual controls and a tripod are required. Course Objectives: -Develop an understanding of the technical basics of B&W analog photography -Gain knowledge about creating compelling black and white imagery -Develop the ability to process and print 35mm film -Further develop the ability to use photography to communicate an idea visually. -Enhance critical writing skills and visual literacy that allow for the evaluation of the content and aesthetics of a photograph -Develop an appreciation for the medium through the study of past and contemporary photographers. -Gain/strengthen research skills. Learning Methods: Formal demonstrations, hands on practice, readings, lectures, research projects, class discussions, photographic assignments in and out of class and critiques. Attendance Students are expected to attend all of their scheduled University classes and to satisfy all academic objectives as outlined by the instructor. The effect of absences upon grades is determined by the instructor, and the University reserves the right to deal at any time with individual cases of non-attendance.
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A Curriculum Guide
FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This page is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE PART IV Resources FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This section is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE Focus Lesson Plans Fand Actvities INDEX TO FOCUS LINKS Focus Links Lesson Plans Focus Link 1 LESSON 1: Introductory Polaroid Exercises Focus Link 2 LESSON 2: Camera as a Tool Focus Link 3 LESSON 3: Photographic Field
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Cyanotype Toning Kit
www.bostick-sullivan.com (505) 474-0890 Cyanotype Toning Kit Thank you for purchasing a Cyanotype Toning Kit from Bostick &Sullivan. The 500 ml kit will tone approximately 50-75 8” x 10” images with a cool, deep magenta color using a Tannic Acid toning solution. Before you begin, read all instructions completely, and follow all safety advisories. 1. Safety and Handling Always follow proper laboratory safety practices when handling chemicals. Wear latex or nitrile rubber gloves, protective eyewear and an apron to limit your exposure. Never store chemicals in a refrigerator that is used to store food. Store all chemicals away from children and pets. The chemicals in your Cyanotype Toning Kit have a shelf life of 10 years at room temperature. 2. Preparing your Workspace You may tone cyanotype prints under normal room lighting, so no safelight is necessary. You will need three trays for the toning process; one for bleaching, a second one for toning, and a third for washing with cold, slow running tap water. 3. Mixing Bleach and Toner Baths Tray 1: Mix 50 ml Bleaching Solution A with 950 ml distilled water. Tray2: Mix 50 to 100 ml Toning Solution B with 900 ml distilled water (Stronger solutions tone more quickly, and give a darker image). 4. Bleaching the Image Submerse your cyanotype image in the bleaching solution. Agitate the tray gently to cover your paper completely. Notice the color change from a bright blue to red, and then begin to fade quickly. Agitate every 20-30 seconds, and continue bleaching for 3 minutes.
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X-Ray Facility Tips: Darkroom
X-RAY FACILITY TIPS Topic 1: Darkroom Fog The effect of fog on an x-ray film is usually subtle, but it can degrade the image quality (detail and contrast) to such an extent that the examination may potentially cause a mis- diagnosis and/or must be repeated. Fogging may be due to many factors including: * Using film kept past its expiration date. Unexposed film may become fogged by gradual chemical deterioration, which is temperature dependent and therefore may be slowed by storing film in a refrigerator. * Film exposed to stray radiation during storage. * Film exposed to excessive heat or humidity during storage. * Film exposed to certain chemicals during storage. * Light leaks from the film packet. * Indicator lights that are not red on processors, other electronic equipment, luminous dials on clocks, film processor controls, glow in the dark stickers, clock radios, glow in the dark flashlights, etc. * Light leaks into the darkroom. The smallest light leak can fog film and haze images. Most often, you’ll find leaks around dark room doors, through false ceilings of perforated tile, around light fixtures, fans, doors not all of one piece, plumbing fixtures going through a wall, and corners where two walls meet. * Poor darkroom lighting conditions. Safelight filters and housing with holes and cracks and improper choice of filters with the film being used. Fog Test: The fog test should be performed semi-annually or following a change in safelight filter, light bulb or more frequently if problems are discovered. With the darkroom door closed, regular lights out and safelight on, remove film from its wrapping or box.
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Camera Hounds COLLECTION OREGON COLLECTION a 4-H Photography Project
371.42 r3lcc STATE LIA] o.l M3 rev. 1959,?&y. JUN 221959 c .3 DOCUMENT Camera Hounds COLLECTION OREGON COLLECTION A 4-H Photography Project To help you learn to fake better pictures and to learn to develop, print, and enlarge them . FEDERAL COOPERATIVE EXTENSION SERVICE OREGON STATE COLLEGE CORVALLIS Cooperative Extension work in Agriculture and Home Economics, F. E. Price, director. Oregon State College, the United States Department of Agriculture, and the State Department of EducationCo. operating. Printed and distributed in furtherance of the Acts of Congress of May 8 and June 30, 1914. Club Series Cl Revised May 1959 4-H Camera Hounds Photography Project S You have successfully completed the Now, as a i-i--H CAMERA HOUT1D, you will SHUTTERBUG 4--H photography project. Now explore the world of photography beyond you are ready for new experiences as you the limits of your own camera. You will enroll as a 4--H CAMERA HOUTD. learn: So far, you have had your negatives 1. To develop your own film. and prints processed by someone else. 2. To contact print your own pictures. You've learned much about your camera, 3. To enlarge your better pictures what it will and will not do, and you've (optional). learned how to tell a good photograph 1-. More about photography as a science from a poor one. and an art. Materials Needed 1. Your camera. Photography has that are at least 5 by 7 inches in size. become a hobby for you. You need a Caution: The containers should be used camera of your own.
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Course Format Abstract Chemical Principals Covered
Abstract Day 4 Day 9 College courses focusing on the interface of chemistry and art are increasingly popular at many academic ♦ Lecture on iron based photographic processes ♦ van Dyke brown prints institutions where they are seen as an attractive way to engage non-science majors. However, there are This lecture introduced the students to the chemistry behind cyanotype, van Dyke brown and Coming back to iron-based photography the students made van Dyke very few courses that seek to engage science majors in the art world. An upper-level course was recently platinum/palladium processes. brown prints and toned them using the same techniques they had developed at Rice University for chemistry and chemical engineering majors that introduced students to learned for salted paper prints (Figure 10). the chemistry of 19th century photographic processes and conservation science. Working with Toshiaki ♦ Contact printing frames Koseki, the photograph conservator at the Museum of Fine Arts, Houston, the students learned to identify Commercial contact printing frames are ♦ Cliché-verre 19th century processes. They then made cyanotypes, van Dyke brown prints, gum bichromate prints, and prohibitively expensive so we constructed simple The students smoked a glass plate over a candle flame, lightly sprayed salted paper prints using negative/positive processes or cliché-verre. They were also introduced to toning ones from wooden frames, latex tubing, velara it with Krylon workable fixative, and then drew on the plate (Figure 11). methods, which included sepia, selenium, and gold toning. The students learned the importance of non- and foam-core [1, 2] (Figure 4). They were permitted to print their plate and tone the resulting image in Figure 10.
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Safelight Filters for Infrared-Sensitive Photographic Elements
Europaisches Patentamt J European Patent Office © Publication number: 0 615 143 A1 Office europeen des brevets EUROPEAN PATENT APPLICATION © Application number: 93103812.9 int. ci.5: G02B 5/22 @ Date of filing: 10.03.93 @ Date of publication of application: © Applicant: MINNESOTA MINING AND 14.09.94 Bulletin 94/37 MANUFACTURING COMPANY 3M Center, © Designated Contracting States: P.O. Box 33427 BE DE GB IT St. Paul, Minnesota 55133-3427 (US) @ Inventor: Williner, Mario 3M Italia S.p.A. 1-17016 Ferrania (Savona) (IT) © Representative: Checcacci, Giorgio PORTA, CHECCACCI & BOTTI s.r.l. Viale Sabotino, 19/2 1-20135 Milano (IT) © Safelight filters for infrared-sensitive photographic elements. © A safelight filter for infrared-sensitive silver halide photographic elements, said safelight filter comprising in superimposition a dye filter layer which absorbs visible light up to a wavelength of about 470 nm, a dye filter layer which absorbs visible light and infrared radiation over the wavelength range of from about 530 to about 850 nm and a flexible, transparent reflective sheet material having on one surface thereof a transparent metal coating which reduces transmission of near infrared radiation. The safelight filter effectively reduce transmission in the visible portion of the spectrum (from about 380 to 760 nm) and the near infrared radiation (from about 760 to 1500 nm) and transmits light only in the wavelength range of from about 470 to about 530 nm, thus providing sufficient visible light for darkroom working combined with minimum photographic effects on the sensitive silver halide photographic element. CO CO Rank Xerox (UK) Business Services (3.
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Darkroom Design
APPENDIX 3 Darkroom Design This appendix has been adapted from material developed by the Ontario Breast Screening Program, Toronto, Canada. The help of that organization is gratefully acknowledged. A.3.1. General requirements The darkroom should be designed to provide the following conditions that are required for mammography: (1) Appropriate lighting conditions for the handling of photosensitive film. (2) Suitable storage for unexposed film in use with particular regard to radiation levels. (3) Space for the film processor and accessories. (4) Space for the storage of chemical solutions. (5) Adequate facilities for the preparation of chemical solutions and for the cleaning of processor rollers (large sink and hose). (6) Appropriate ventilation. (7) Provision of silver recovery system. (8) Adequate workspace for the loading of films, and a viewing area and workspace for sorting the films. (9) Fire alarms and other warning signals should be audible inside the darkroom. Note that these requirements still apply for daylight, or automatic feeding processors, in order to reduce image artefacts. Ventilation of the processor and handling of chemicals remains the same. A.3.2. Darkroom location and radiation conditions The darkroom should be located adjacent to the mammography room, and there should be a clear path from the mammography room to the entrance of the darkroom. A pass-box directly from the mammography room to the darkroom will permit increased throughput if there is a darkroom technician, and allows for the storage of loaded cassettes. Care should be taken that there are no excessive radiation levels in the darkroom and film storage areas. This can be checked using TLD dosimeters.
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The Print Ansel Adams
The Print The Ansel Adams Photography Series I Book 3 The Print Ansel Adams with the collaboration of Robert Baker UTILE, BROWN AND COMPANY NEW YORK BOSTON In 1976, Ansel Adam elected Little, Brown and Company a the sole au thorized publisher of his book, calendars, and posters. At the same time, he established The Ansel Adams Publishing Rights Trust in ord er to ensu re the continuity and quality of hi legacy - both arti tic and environmental. As Ansel Adams himself wrote, "Perhaps the most important characteri tic of my work is what may be called print quality. It is very important that the reproduc ti ons be as good as you can pos ibly get them." The autho rized book, calendars, and posters published by Little, Brown have been rigorously supervised by the Trust to make certain that Adams' exacting standards of quality are maintained. Only uch work published by Little, Brown and Company can be considered authentic representations of the genius of Ansel Adams. Frontispiece: Northern Cascade·, Washington (hazy sunlight) , 1960 Copyright © 1980, 2003 by the Trustees of The Ansel Adams Publishing Rights Trust All rights reserved in all countries. No part of this book may be reproduced in any form or by any electronic or mechanical means, including informati on storage and retrieval systems, without permission in writing from the publi her, except by a reviewer who may quote brief passages in a review. Little, Brown and Company 1271 Avenue of the Americas, New York, NY 10020 Vi it our Web site at www.bulfinchpress.com This is the third volume of The Ansel Adams Photography SeTies.
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